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Lou Reed, John Cale, Sterling Morrison, and Moe Tucker came together from different backgrounds and different musical disciplines and experiences, and were able to hone, refine, and expand their artistic consciousness thanks to the patronage of Andy Warhol, who ruled the Manhattan underground in that era.įilmmaker Haynes gathers interviews with Cale and Tucker, the surviving members of the group, along with a select group of people who were there to bear witness to a phenomenon that never became very popular. It's very much an NYC film, in a manner similar to how The Velvet Underground could only have flourished artistically in Manhattan.
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So, even though, from outward appearances, The Velvet Underground may resemble a more conventional film, sticking to an anticipated narrative, much like his recent Dark Waters (2019), Haynes instead lulls the viewer into a pleasantly informative overview of the (relatively) short-lived band's career before more fully showing his hand by constructing a mosaic that reflects a wider river of influences that changed the course of the 1960s counter-culture. Some films are difficult to wrest away from personal expectations and memories.ĭirector Todd Haynes' Superstar: The Karen Carpenter Story (1987), Velvet Goldmine (1998), and I'm Not There (2007), serve as potent examples of the filmmaker's approach to musical influences and his artistic ambitions to subvert expectations through the adhesion of his personal perspective to his subjects.